Last night, I was watching The Musketeers, the new BBC series featuring Peter Capaldi rocking the Van Dyke and redefining diabolical as Cardinal Richelieu. He’s pretty badass in The Musketeers, but not chewing the scenery or twirling his mustache (which I would imagine is hard to resist because dat stache!) kind of way. Capaldi is working the dialogue like a boss and creating a foil against our heroes that makes you sit up and take notice. There’s a mind and a motivation you connect with on a visceral level, and sometimes it’s difficult to take a side against Richelieu as he makes villainy look really, really good.
That and the wardrobe. And did I mention DAT STACHE?
Watching Capaldi in this role has me of late considering villains, what makes them compelling versus comical characters, and why they are so important in writing.
Your villains—or antagonists, if you want to use the fancier term for “bad guys”— are as high a priority to develop as your heroes. They need to resonate with you, lest they reduce themselves to nothing more than set dressing hell bent on destroying said set along with any major players that happen to be in the vicinity. Continue reading →
In this month, from the day I was let go to now, I’ve learned a lot. Granted, each layoff is different. Some involve severance packages. Others do not. Some employers treat you with respect. Others waste no time in getting you out of the door. It’s hard to predict how bad news like this will come, but I can say — after a month of letting the dust settle — there are at least five things to keep in mind when Corporate America pulls the rug out from under you. Continue reading →